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Pre-order Vinyl Records

Beautiful Friction (Awaiting Repress)

Not sixty seconds into Beautiful Friction and it is clear; the haunting guitar of Jamie West-Oram, expressive synth of Rupert Greenall, pounding bass of Dan K. Brown, steady beat of Adam Woods and unforgettable vocals of Cy Curnin add up to the undeniable sound that could only be The Fixx!

Apart, you couldn't refute their talent, yet it's together that they shine. Together, The Fixx has an incredibly strong voice, strong legacy and strong future.

Beautiful Friction, the band's tenth album studio album, finds The Fixx sharper than ever. Never at a loss for what to say, Cy Curnin and company have the same thought-provoking intensity fueling their lyrics and performances as they ever have.

Fired up and as hopeful as ever, the band continues to take us on a journey which started in 1982 with the release of Shuttered Room. Says Curnin, "There's a theme that traces through The Fixx. Our catalogue is connected, our viewpoint as a collective has always been socially driven. With the Internet, things sped up, and we were able to get feedback quicker and became closer with our fan base. We've been so thankful to hear from people who let us know our music made a difference in their life. It made us realize we had a sense of responsibility to our audience, that our work as a band was unfinished."

1. Anyone Else
2. Just Before Dawn
3. Take A Risk
4. Beautiful Friction
5. What God?
6. Second Time Around
7. Follow That Cab
8. Shaman
9. Something Ahead Of You
10. Girl With No Ceiling
11. Small Thoughts

Play.Rock.Music (Awaiting Repress)

It's been 23 years since Toadies started playing rock music in Fort Worth, Texas. Through lineup changes, shelved albums, member departures, band break-ups, one-off reunions and full-on performances, Toadies are an act that has experienced nearly everything except, perhaps, the freedom to grow as they choose.

But that mark is about to be checked, too. On July 31, Toadies will release their fifth proper full-length album a disc fittingly called 'Play.Rock.Music.', because, perhaps for the first time in their career, the band feels capable of unapologetically doing just that.

After bursting onto the national scene with their breakthrough 'Rubberneck' album, which begat their signature single, 'Possum Kingdom', the successful follow-up single 'Away' and the immense fan favorite 'Tyler', Toadies returned to the studio in 1996 with the pressure of trying to match their first album's success. The result was a disc called 'Feeler', an album the band's then-label home, Interscope Records, was supposed to release in 1997 but decided to shelve despite the band's protests. So it was back to the drawing board for the 2001-released 'Hell Below/Stars Above', an awkwardly timed sophomore album that enjoyed moderate success and almost universal critical acclaim but was ultimately doomed because of the seven-year wait to arrive.

But a reunion show in Dallas in 2006 reignited the band's spark. The following year, the band embarked on a surprise tour of Texas. A year later, they fully re-formed, recording and releasing 2008's 'No Deliverance'.

This past spring, the band, joined by Grammy-nominated producer Chris Frenchie Smith entered an Austin recording studio with a clean slate. The songs on 'Play.Rock.Music.' are some of the best the Toadies have ever released. The trademarks of the band are all present Lewis howl, the chugging guitars, the unrepentant angst but they're also improved upon. Without question, it is: With the band's second successful stint now having lasted almost as long as the initial run, 'Play.Rock.Music.' shows off a band in full stride, an outfit with renewed vigor and, perhaps most important, a group with a clear and confident understanding of itself.

Holidaydream: Sounds of the Holidays Vol. One (Awaiting Repress)

This year, to celebrate the 10th year of the Holiday Extravaganza, the band will finally release their first volume of holiday songs, titled Holidaydream. Tim DeLaughter (founder of The Polyphonic Spree) says Holidaydream can be played all year round: "We wanted to make a record that has the sentiment of the holidays without the melodic connotation telegraphing the obvious. We took many of the standards that we all knew and loved as kids and rewrote the music and melody to give them a 'new' life while leaving others somewhat true to form."

Holidaydream: Sounds of the Holidays Vol. One is not your typical, by-the‐numbers holiday collection. The music within is magical, otherworldly, and at times somber. The songs captivate as they float by. A few of the songs have alternate melodies and truncated lyrics but maintain the timelessness and sentimentality of the song.

Kirtland Records have partnered with Good Records Recordings to release the 13-song collection on limited edition LP. The album includes 10 standards, two original compositions, and a cover of the always timely "Happy Xmas (War Is Over)" by John Lennon & Yoko Ono.

1. A Working Elf's Theme
2. Winter Wonderland
3. The Christmas Song (Chestnuts Roasting On An Open Fire)
4. Happy Xmas (War Is Over)
5. Sildent Night
6. Silver Bells (ft. School of Seven Bells)
7. Do You Hear What I Hear?
8. Carol of the Drum (Little Drummer Boy)
9. White Christmas
10. Let It Snow
11. It's the Most Wonderful Time of the Year
12. Silver Bells (Reprise)
13. Holidaydream

Razorblade Suitcase (Awaiting Repress)

"Razorblade Suitcase" is the second album by the British grunge band Bush. After numerous top ten singles on the Billboard rock charts, "Razorblade Suitcase" finally produced a number one album spot on the Billboard 200 in 1996. "Razorblade Suitcase" featured Steve Albini as the audio engineer just three years after he had worked with Nirvana on their final studio album.

The Science Of Things (Awaiting Repress)

For their third album, The Science of Things, Bush returned to Clive Langer and Alan Winstanley, the Madness producers who helmed Sixteen Stone, but along the way, they fell out with the duo. Rossdale claimed the two were only credited on the album for legal reasons, and that the real work was done by the band with engineer Tom Elmhirst, which is probably true, since it's slicker than Razorblade Suitcase but doesn't glisten like Stone. Science is carefully crafted and sequenced, flowing nicely from hard rockers to power ballads, but little of it catches hold. It plays better than the disjointed Razorblade Suitcase due to studiocraft, since the measured, detailed production fleshes out songs held together by a bare minimum of hooks and melodies. Without hooks, Bush's earnestness is unavoidable. Rossdale's emotive, gut-wrenching vocals and the band's hard, heavy delivery are all this record has to offer and the mystery is why the music has such little impact, either as emotional catharsis (which it was intended to be, if the tenor of the performances and Rossdale's interviews are to be believed) or as catchy commercial hard rock (which is what the best moments of their first two records were). In an effort to develop their own voice and to be taken seriously, Bush have left behind their natural strengths -- a knack for melodic hooks and riffs. They're undoubtedly sincere and have delivered a professional record, but once The Science of Things is finished it fades away, since it has neither the emotional nor musical substance to make a lasting impact.
-All Music Guide

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